Professional Documents
Culture Documents
Agnieszka Gajda - Stach From Warta. Szukalski and The Tribe of The Horned Heart (2012)
Agnieszka Gajda - Stach From Warta. Szukalski and The Tribe of The Horned Heart (2012)
2012 (XII) nr 3
Agnieszka Gajda
kontrowersyjne, czasami ocierające się o absurd – swego rodzaju słowiańska wersja to-
talitaryzmu – nie budzi jednak zdziwienia, bo teoria formowała się w latach wzrastającej
popularności hitleryzmu, włoskiego faszyzmu, komunizmu, które to ruchy silnie fascy-
nowały autora tejże koncepcji.
Słowa kluczowe: neopogaństwo nacjonalistyczne, pansłowiańskie i panteistyczne, na-
cjonalizm
Two decades between World Wars had an exceptional character in Poland. The
euphoria of freshly regained freedom meddled with problems of a country dev-
astated by war, torn by annexations and dramatically divided. The matter of re-
construction of the II Republic was not of only political or economic character.
Contemporary elites dealt also with Polish culture and art. It was invested into the
reconstruction of relics, museums, galleries, monuments and the places of memo-
ry. Theatres re-start their activity, putting pressure on the patriotic repertoire. Edu-
cation, higher universities, scientific circles are organized. Poles in this time stand
up before the question about the character of Polish culture –during the century
of annexations the Sarmatian culture went bankrupt. The unconscious problem,
even the stigma, according to Maria Janion was the peculiar trauma manifesting
in the inferiority towards others, especially western nations. This trauma was the
outcome of the baptism, which in savage way broke the Polish pride, demolished
the denominational order of things and enforced foreign, meaning better, culture
and religion. Those feelings of inferiority, inherited from generation to genera-
tion, were recognized by some polish thinkers among whom were the neo-pagans
whose means of setting free from this enslavement was via the return to revalu-
ated Slavic pagan culture and religion.1 The regained freedom obliged to making
the next step ahead of Romanticism and the following 19th century epochs, which
developed in completely different historical conditions.
A group of artists, continuing slavophile traditions in Polish art of the 19th
century2, it advocates their own vision of new Polish national culture. Marian
Wawrzeniecki, Stanisław Jakubowski, Zofia Stryjeńska or Stanisław Szukalski
were not only inspired by pagan Slavdom, but also they wanted to take an ac-
tive part in the reconstruction of Polish country by the resurrection of the proto-
Slavonic culture and the inclusion of its spirit into the new national culture. The
idea of creation of the new, strong, truly Polish national art become the aim of
prominent artists, who found the pattern in pagan, legendary Slavdom. Moreover
their activity became the inspiration for Polish neo-pagans, who still use the sym-
bols and works of art created between wars.
1
M. Janion, Niesamowita Słowiańszczyzna. Fantazmaty literatury, Kraków 2006, p. 15–19, 27–29.
2
See: A. Gajda, Pogańska Słowiańszczyzna w literaturze polskiej, „Państwo i Społeczeństwo” 2008,
No. 4; eadem, XIX-wieczne korzenie polskiej myśli rodzimowierczej: słowianofilstwo, gminowładztwo, pogań-
stwo, [in:] Myśl i polityka. Księga pamiątkowa dedykowana profesorowi Jackowi Marii Majchrowskiemu, ed.
B. Szlachta, Kraków 2011, p. 205–224.
STACH FROM WARTA SZUKALSKI AND THE TRIBE... 123
A major meaning for Polish neo-paganism was held (and still is held) by
Stach z Warty (Stach from Warta) that is the sculptor Stanisław Szukalski (1893–
1987). In 1913 r. after two years of studies, as a result of financial problems and
the misunderstandings with lecturers, he left Academy of Fine Arts in Krakow
claiming, that it makes it impossible for the young, free artists to develop freely
and it imposes on them decadent (that is French and Semitic-Muscovite) notions
of art. “Twórcownia”3 was to be the solution, based on true, native culture. To
achive his aim, Szukalski started the Tribe of Horned Heart, which was even
against the mainstream culture, criticizing the establishment. The motto of the
Tribe was “Loving and Fighting”. Since the half of the 1930’ “Krak”4 appeared
which was the press organ of group. All members were young – Szukalski claimed
that the “old” did not have the strengths to fight for one’s ideals. Members were
taking “miana” (names), that is Slavic pre-Christian names which were often
neologisms (eg. Krasowid, Marzyn, Kurhanin, Ziemitrud, Pracowit, Szczepowid,
Ziemin).
Our emblem: The “Horned Heart”, and the call the order of loving and the fight. Because
love and fight is needed for the engine of idea to give not only whirr of words but also speak
and speed.5
caste of the Old is the idée fixe of the artist. Initially concentrated on the decay of
Polish art by “old” professors and “former” artists, so that later widen the genera-
tion conflict on.
Nation falls down by inertia, biological inertia of this racially depleted this social caste,
coming from the social group of townspeople. […] All disasters of human nature, – such as
the weakness of the spirit […] the partitions, the captivity, emigrations, banishment, thou-
sands of executives in prisons, the whole Siberia and the unpredictable drag of the Nation =
all of the fault of these scoundrels who before the partitions the Society were, […] the lords,
covered with laurels, sitting behind desks, from the pulpit and in university desks.10
Szukalski claimed, that the break of contact between the old and the young
generation is necessary (even with the use of violence11) because only in this way
can the poisoning of the Young with the destructive, “slavish” influences be pre-
vented, in order to keep the youthful idealism and “dziewiczyn12 towards eternal
racial youthfulness”13. Szukalski sees the Zorian duality also in its classic form
that is the duality of Polish culture or rather in the division on “the Poland Art”
and the “Art in Poland”:
Up till now we had Art in Poland, but Polish Art was not there yet, unless we turn our faces
towards the forgotten, or rather never studied mother, the folk Art. […] We are, as we were
beforenot grown up enough as society to see value in the resin of our race, gushing with the
folk Art, more we hungered for the easy acquired foreign cultures […], rather than for the
liberation of our spirit knocking to let it go from the undergrounds of our subconsciousness.
The Spirit driven under the ground in the first days of Christianity, was being locked down
again and again when the new strange style was invading Polish culture in its own way.14
Therefore the pagan past of Poland, not contaminated with strange traces,
should be the most important source of inspiration for Polish artists. The Slavic
context of Szukalski thought is his solid feature –already appears in first number
of the Tribe’s periodical “Atak Kraka” (“the Krak’s Attack”) and it occupies the
artist till the end of his days (the monumental work about Zermatism and the
Macimowa – Mother tongue). The distinguishing feature of Szukalski’s medita-
tions is also his negative relation towards the clergy and Christianity and gener-
ally the praise for Slavic pagan culture which should stand as foundation for new,
free Poland II15:
Since the beginning of our well-known history, since the baptism, our nation light hearted
accepted every fashion. We helped invaders slimily […], to murder our fathers’ Gods in
10
S. Szukalski, Naród a Polska, „Krak” 1937, No. 1 [December], p. 34.
11
Idem, Ku Sławji przez Unję Młodych, „Krak” 1937, No. 1 [December], p. 3.
12
‘Dziewiczyn’ is a neologism created from words ‘dziewiczy’ (virgin) and ‘czyn’ (an act, action).
13
S. Szukalski, Ku Sławji przez Unję Młodych…, p. 3.
14
Idem, Atak Kraka. Twórcownie czy Akademie?, Kraków 1929, p. 7–8.
15
Poland II should not be identified exactly as the Second Polish Republic (the post-first world war
Poland). It was ideal, better Poland distinct from the earlier one (Poland I).
STACH FROM WARTA SZUKALSKI AND THE TRIBE... 125
holy groves. To gain mercy in the other heaven we splitted foreheads of our carved pagan
Gods so that almost nothing left among us to provide for us, to testify that we had fore-
fathers at all. […] Led by Krak we communicate among us, lying one hand down on the
ground, and the second on the heart; we – will advocate its tremble, as holy indication.
We’re ready for fight!16
We are young, so we clung our hearts to revolution and we live with it; all
our strengths and abilities we lie on the crank, having to pull and to push Slavic
art and culture.17 “Our race and nation is our religion, a proof of our citizenship
let our work and usefulness be”.18
Plaiting these two plots together Szukalski drew his vision of so called Po-
land II, vision that is innovatory, controversial and sometimes within borders of
absurdity even. It is important as far as if came into being, it would be the Slavic
version of a totalitarian system (which should not surprise because it was created
in years of growing popularity of pre-war Hitlerism, Italian fascism, communism,
to fascination by which Szukalski admits19). Although little is in that practical
indications of the functioning of the country in the future.
First of all Szukalski aimed at the creation of the Union of Youyh – the
independent organization which aim was the defence of “businesses of creative
youth against the old generation”20. The union was to contribute to the reconstruc-
tion of the socio-national system of Poland, to create so called Poland the Second
in which the Young will hold power. In Szukalski’s plans the Union of Youth
was to become “the utterer of the whole average covering the common ideologi-
cal kinship of the whole Młodarmja21.” Yet Młodarmia, also called the “Army
of Resurection”, later also called the army of the Defenders of Motherland, as
the social organ of the Union of Youth in time of war was to protect the Moth-
erland and in time of peace to decide about matters of Progress, the prosperity
of the country and the readiness for war. Szukalski demanded for the leadership
of Młodarmia because it were it members who were dying for the Nation in mil-
lions – those who make the highest sacrifices need to have voice in time of peace.
It was the first-class feature of the Union of Youth that is its pre-Slavic blade.
Szukalski advocated loftily:
Facing the unification of German nations and the invasion of Mongol Russians on the
world, we stand with great circle to Union of Youth to tie. Seizing the palms extended, we
begin tuning defenders’ horrendous circle of Indivisible Sławia.22
16
S. Szukalski, „Krak” 1 1930, No. 2 [June], p. 1.
17
Idem, Szczep „Rogate Serce”…, p. 5.
18
Szukalski’s letter to Tribe members (probably from 1930), in L. Lameński, Stach z Warty Szukal-
ski…, p. 211.
19
S. Szukalski, Kiedy przemoc jest prawem, „Krak” 1937, No. 1 [December], p. 26–30.
20
L. Lameński, Stach z Warty Szukalski…, p. 187.
21
S. Szukalski, Um a Armja – W obronie Nieznanego Żołnierza, „Atak Kraka” 1939, No. 1, p. 20.
‘Młodarmia’ is a neologism created from words ‘młodość’ (the youth) and ‘armia’ (an army).
22
Idem, Ku Sławji przez Unję Młodych…, p. 5.
126 AGNIESZKA GAJDA
[…] our map should unite at least the whole of Ruthenia, Lithuania, Romania and at least
the half of Black Sea, but not as a result of conquest but the effectiveness of influences of
our ideology and voluntary connection of these nations with ours32.
He proposed that the national names should fulfill the function of terri-
torial and tribal redenomination, and to create “internally national and outside
23
Idem, Um a Armja…, p. 21.
24
Idem, Ku Sławji przez Unję Młodych…, p. 4.
25
Idem, Dlaczego Krak, „Krak” 1937, No. 1, p. 10.
26
‘Toporzeł’ is a neologism created from words ‘topór’ (an axe, hatchet) and ‘orzeł’ (an eagle).
27
‘Duchtynia’ is a neologism created from words ‘duch’ (spirit) and ‘świątynia’ (temple).
28
Sławia or Sławiańszczyzna is literally: ‘Slavdom’, but emphasising an etymology from sława (fame,
glory). The common forms of ‘Slav’ and its cognates are spelled with an ‘o’ in Polish, reflecting a probable ety-
mology from *slovo, meaning ‘those who speak (an intelligible Slavic dialect)’. Another possible etymology is
from *slava, thereby meaning ‘those who are famous and glorious.’ The use of a form that emphasised ‘Glory’
had great ideological value. The glories of the past help salve the wounds of the present.
29
L. Lameński, Stach z Warty Szukalski…, p. 223.
30
S. Szukalski, Naród a Polska…, p. 50.
31
Idem, Ku wielkiej Sławji, „Atak Kraka” 1939, nr 1, p. 4.
32
Idem, Naród a Polska…, p. 51.
STACH FROM WARTA SZUKALSKI AND THE TRIBE... 127
“Krak” aims at this, that the future Poland should stop calling itself Poland, and in close
future begin to define itself a universal name, Sławia. […] we want Poland which would
change its name into Sławia, to keep its original name for territorical qualification of its
geographical position only, meanwhile with its spiritual superiority in leadership among
Slavs’ family.36
After crushing the statue of Światowied40 our historical unity was torn. Great blocks of
statue are hidden in different nations, meanwhile small particles in our own hearts. We are
broken and spilled like him, and the time is coming to rebuild him. […] When through the
Union of Youth we will concentrate all our nations in one Slavic Nation, in one inseparable
33
It’s a neologism created from words ‘ród’ (family, clan, line) and ‘Sławiańszczyzna’ (Slavdom).
34
Idem, Ku wielkiej Sławji…, p. 5–6.
35
The conviction of a leading role of Poland among other Slavic nations became popular on the 19th
century slavophilia and among polish neo-pagans of the first half of the 20th century.
36
Idem, Mieszańcy, „Krak” 1937, No. 1 [December], p. 12.
37
‘Wielkunja’ is a neologism created from words ‘wielka’ (great) and ‘unia’ (union).
38
Idem, Mieszańcy…, p. 12.
39
Idem, Um a Armja…, p. 19.
40
Świętowit (also Światowid, Sventevith etc.) is the Slavic deity of war, fertility and abundance. The
most famous sculpture of this God is the Zbruch Idol from 9th century – one of the rarest monuments of pre-
Christian Slavic beliefs. The statue is now on display in the Archaeological Museum in Kraków, Poland, with
exact copies located in a number of museums, including the State Historical Museum in Moscow.
128 AGNIESZKA GAJDA
Sławia then our ancestors’ God, Światowied will appear and lead us towards the sun of his-
tory. By the Union of Youth, towards Great Sławia!41
“The morality of pagan self-appointed vigour is in force today, and not the
Christian compliance and the Semitic groan”.42 Szukalski was offended by the
praise of weakness, suffering, humility, poverty, the order of loving the enemies
or the condemnation the eroticism in Christianity, in which he saw the creative
phenomenon and the motor of working for a man43. Generally he reconciled
in reigning Christian order not only appealing to pagan Slavic symbolism and
sharply criticizing the clericalization of contemporary Poland, but also denying
the parenniality and the perfection of Christian morality:
What weak shall fall, morality is beyond parenthesis of history, and plays part only there
where winter drops, and bezdzieje44 begins. Man created God himself with his mind, there-
fore nowadays let him build his own history. Otherwise other people’s Gods he will love
and other people’s history he will cultivate.45
Since we are in the need of moral, ethical, disciplinary and psychical rebirth, therefore the
symbol of double-edged carpenter’s axe, the tool of building and ancient equipment of our
Nation in the hand war, it is the most appropriate.49
49
S. Szukalski, Projekt zbudowania Duchtyni, [in:] Wykaz prac Stanisława Szukalskiego i Szczepu
Rogate Serce, Warszawa 1936, p. 37.
50
Founded in 1990 in Wrocław by Zdzisław Słowiński.
51
Zadruga – Polish nationalist, anti-clerical organization, founded in 1935 by Jan Stachniuk. It refered
to native Slavic culture and beliefs. Zadruga became the biggest and most resilient neo-pagan movement in
interwar Poland.
52
S. Simpson, Native Faith. Polish Neo-Paganism at the Brink of the 21st Century, Kraków 2000,
p. 62–63.
53
Poland I was the pre-partition Poland.
54
S. Szukalski, Waweljada. Obywatelskość a bałagan, „Krak” 1937, No. 1 [December], p. 61.
130 AGNIESZKA GAJDA
eight hands, sitting on a splendid, white stallion, was to reach the opening in the
roof of the cave. Face turned South was to represent Kazimierz Wielki (Kazimi-
erz the Great) and to symbolise: afternoon, Summer, the Rise of power, Build-
ing of the country, Peace, Wealth and the Prosperity. Face turning West was to
represent Mikołaj Kopernik (Nicolaus Copernicus), and symbolise: Evening, the
West, the Harvest, Culture, Saving the Knowledge, Atrophy of National Sense,
Pacifism and the Oversight the Physical Side of Life. Northern face belonged to
Adam Mickiewicz, it incarnate: the Night, the North, Winter, Slavery, Dying of
the Will, Freezing of the Life Juices, the Day-dreaming, the Martyrdom and the
Prophetic Foresight of the Arrival of Spring – the Independence. However face
turned eastwards, the same side that stallion’s, belonged to Marshal Piłsudski and
symbolised: the Morning, Spring, Awakening of political sense, Krwizna (the
Revolution), War for freedom, the Liberation. Piłsudski was to hold Toporzeł
and to whet him with his heart - the whetstone. The whole construction was to be
placed on a marble pole, inside which, one and only Świętoporzeł55 was to be put
and lit with “eternal, electric light”56. To this trunk, “in Commander’s Piłsudski
presence” Poles would give oaths, both private (eg. engaged, faithfulnesses) and
public, political, international.57
Szukalski after leaving Poland with the explosion of world war II dedicated
himself towards scientific activity: for over 50 years he worked over the theory of
Zermatism and Macimowa (Mother tongue). He was unusually controversial and
charismatic artist, whom people could either adore or hate. Despite his prominent
works, he was not put in charge of the realization of projects of monuments (be-
yond Katowice) – towards which he contributed with his shocking and offensive
tirades. His pupil Stefan Żechowski’s words describe him accurately:
It would be a mistake to call this man a sane person whilst he possessed that madness
which appears in brilliant men, men faithful to their own ideas till the end and often ready
to give their lives for those. Though we would judge him even most severely his legacy
will remain, free of negation and ensure him immortality – his sculptures and drawings, his
extraordinary work of Art.58
Horned Heart Tribe stopped existing in autumn 1936. The former members
of the group tried to develop their careers in a way – often in contradiction with
their Master teachings.
55
‘Świętoporzeł’ is a neologism created from words ‘święty’ (holy) and ‘Toporzeł’.
56
Idem, Projekt zbudowania Duchtyni…, p. 37–38.
57
Ibidem, p. 36–38; S. Simpson, Native Faith..., p. 60–63; J. Majchrowski, Szkice z historii polskiej
prawicy politycznej lat II Rzeczypospolitej, Kraków 1986; L. Lameński, Stach z Warty Szukalski…, s. 187–
191.
58
S. Żechowski, Na jawie…, p. 91. Szukalski’s art was again appreciated after his death. To this fact
contributed famous actor Leonardo di Caprio, metal band Tool and many more. Szukalski is now quite popular
in USA – mainly his art, not political beliefs.